DOCSLIB.ORG

Morgenstern, Dan. [Record Review: Duke Ellington: 70Th Birthday

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Records ore reviewed by Chris Albertson, Don DeMicheol, Gilbert M. Erskine, Ira Giller, Alan Heinemon, Wayne Jones, Lawrence Kort, John litweiler, Jahn McDonough, Dan Morgenstern, Don Nelsen, Harvey Pekar, Harvey Siders, Coral Sloone, Jim Szanto,, and Pete Welding. Reviews are signed by the writers. Ratings are: * * * * * excellent, * * * * very good, * * * goad, * * fair, * poor. When two catalog numbers are listed, the first is mono, and the second is stereo. SPOTLIGHTREVIEW salves, Ashby, and Turney, with Paul the Ginger Baker Duke Ellington winner but Ash and Norris (who plays a GINGER BAKER'S AIR FORCE-Atco 2-703: booting, jump-styled tenor) holding their Da Da /\fan; Early in tht Morning; Don't Cart; 70TH BrRTHDAY CONCERT-Solid State SS- Toad; Aiko Biayt; l\lan of Cons/all/ Sorrow; Do 19000: Rocltin' In Rhythm; B.P.; Takt tht "A" own; Fife (mislabeled Fifi), a charming What Y ou Likt; Doin ' It. Train: Tootit For Cootit; 4:30 BlutsL El Gato; bit of whimsy featuring Turney's tasteful, Personnel: Chris Wood, Harold McNair, flute, Black Bulltrf/y; Things Ain't What 1 hty Ustd tenor saxop hone; Graham Bond, aha saxophone; lo B,; Ltying On Mt/low; Satin Doll; Azurt Tt; pretty and witty flute; and Black Swan, Denny Laine. .ruicar. vocals: Sreve Winwood, l,r Triplicatt; Ptrdidol Fift; M,dl ,y : (Pr,ludt to featuring Davis (a new color), Ellington , organ, vocals; Rich Greeb, electric bass, ampli• , Kiss; I' m Just a wcky So-And-So; I L,t a tied violin; Baker, Remi Kabaka, drums; Phil Song Go Out of My Htart; Do Nothin' Till You Gaskin, Jones, and Turney (again on flute; Seamen, percussion; Jeanette Jacobs. vocals. lltar from Mt; Just Squttzt Mt; Do11't Gtt again very good). .fround Much Anymort; Mood Indigo; Sophis­ Rating:** licat,d Ltdy; Cara,·an); Black Su·an; Fi11al Elling­ Not as new but previously unrecorded is Well, maybe if the recording was better, Ion Spuch. Tootie for Cootie, its star in fine fettle. the Air Force would sound like a better Personnel: Cat Anderson, Cootie \Villiams, Rolf Ericson, Mercer Ellington. uumpet, fluegel• There are echoes of Echoes of Harlem, band. As is, it takes Baker and Company born; Lawrence Brown, Chuck Connors, trom• Cootie's very special time, and a superb, two LP 's to tell the same story: repeated bone; Russell Pcocope, Jobnny Hodges, Norris Turney, Harold Ashbr. Paul Gonsalves, Harry Arm strong-tinged cadenza, as fine as the riffs, with Bond or Wood or Laine or Carney, reeds; Wild Bill Davis, organ; Elling­ one on A Train. Also not new but new to Winwood doing either avant garde (Bond) ron, piano; Victor Gaskin, bass; Rufus (Speedy) Jones, dcums. the band is Davis' Azure Te (mislabeled or funky (Winwood) things over the hor­ Rating:* * * * * Azure, which is a vintage Ellington piece), ribly muddy ensemble. And, oh yes: the This double album, sold at a special showcasing the composer and blessed John­ drum solos, obligatory with Baker, on 2-for-l price and containing an hour and a ny Hodges. And a highlight of the entire Toad and Do What. Dunno. Seems like half of mostly superb music, is one of the program is Black Butterfly , a 1938 mas­ he knows what he's doing, judging from outstanding releases of recent times. terpiece revived to feature Hodge s, who down beat interview of April 16, but to Recorded live in Manchester, England caresseses the lovely melody in four and these assaulted ears, it still sounds like in November of last year, it captures the a half minutes of joy and beauty. (Is the Si11g Sing Sing. And sing and sing and full musical flavor of an in-person per­ brief clarinet solo by Ash or Turney? I sing .... formance by the greatest band in the think the latter.) Some interesting concepts in embryo world. The tour during which it was taped Perdido spotlights Ericson, whose sly, here. Da Da is a hard rock line who se was a grueling one, but nobody sounds boppish approach sometimes reminds of melody combines the flavor of a Turkish tired. Clark Terry, whose feature it once was. folk tune with Gospel overtones. Early Already, the album is a historic docu­ Ro cki11' is a boss opener, played with fire has elements of Northeast Africa and of ment. This particular Ellington band will and drive-the kind of thing most bands Louisiana voodoo in it. Aiko is basically a never be duplicated. Johnny Hodges is would save for a climax-but then, this West African chant. But they just go on gone. (By good fortune, he is well fea­ is the band that starts where most others and on, and none of the soloists ha s tured here.) Lawrence Brown left after leave off. enough originality to balance the heavy the tour's end, as did Vic Gaskin. Alum­ Brown has only two solos: some plung­ group playing , which, it9e!f, is too sloppy nus Rolf Ericson was a temporary re­ er stuff on Rockin'-which utilizes this to provide the requisite drive. Bond has placement in the trumpet section. And color, seemingly discarded by all but Duke, a few moments in Da Da, playing free there were only two trombones, a short­ who after all helped to invent it, in a but in rhythm, but his screech work on age for which Ellington compensated by manner not the least "dated"-and Do Doin' It over the horn riff is utterly inane. having sixth reedman Norris Turney, a Nothin' in the Medley. Ironic that this Winwood plays some intriguing figures here most valuable addition, sit in the section warhorse should be his swan song. and there, but between the flawed record­ and play trombone parts. The piano player is amply featured in ing techniques and the sheer volume of Along with such familiar fare as the the Medley, on Rockin', Train, and else­ the band, he can connect nothing with Medley (never before commercially re­ where. This is also a great record for as= nothing. corded at such length, yet incomplete­ certaining just how big a part Duke's The vocals are miserable. The words to Paul Gon salves' In A Sentimental Mood, piano (and vocal cues) plays in pacing Don't Care, sung by two or 10 of the one of the highlights, is missing, though and shaping a performance. What a mas­ band, are undiscernible . Early's singer was the tune is hinted at in Duke's kaleido­ ter at setting the right tempo he is! And clearly record:d from within a drainpipe. scopic piano introduction); A Train, El quite a piano player. And so on. Lots of talent in this band, Gato, and a great Things Ain't, there are Nothing is perfect, and we do regret but it needs a hell of a lot more wood­ new versions of old favorites (Satin Doll that Harry Carney is heard only on the shedding. And a new engineer. now features Wild Bill Davis and a sen­ Medley (Sophisticated Lady-she doesn't - Hein errum sational Cat Anderson rideout), and sev­ wither) and Rocki11' (on clarinet, which eral "firsts." doesn't really count), and Gonsalves only Among the latter: B. P., a jaunty vehi­ Crosby, Stills, Nash and Young •--• on Triplicate (without a Gonsalves ballad, DEJA VU-Atlantic 7200: Carry On: Ttach cle for Harold Ashby's pleasant , Web­ something is missing). Also, the engi­ Your Children; A/molt Cut My Hair ; Helpless; sterish tenor; 4:30 Blues, a fine, brooding W ood1tock; D eja Vu; Our Roust; 4 + 20; Coun­ neering ( or mastering) overbalances the try Girl (mtdlty); Evtrybody I Lovt You. piece with clarinets in trio and solo (Rus­ rhythm section, and while Rufus Jones is Personnel: Steve Stills, organ, guirar 9 vocals ; sell Procope in splendid form); Laying 011 his usual solid, dependable self and Gaskin David Crosby. guitar, vocals; Graham Nash, gui­ tar. vocals; Neil Young. guitar. vocals; Greg Mellow, well described by its title, and sounds fine, we don't need to hear it that Reeves, elecctic bass: Dallas Taylor, dcums. featuring Hodges at a delicious middle well. Rating:*** tempo, at length and with strength, in­ But why carp? There haven't been When C, S & N added Y, they made cluding a startling swoop unlike anything enough Ellington records lately . There can both a valuable expansion and a mistake. he ever played; ill Triplicate, a rousing never be enough. Go get this music while The trio had its own sound, an incredibly tenor battle between (in that order) Gon- you can. -Morgenstern lovely sound. They write pretty tune s, June 25 D 19 ---------------- -- -- --- -.
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)

    JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)

    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
  • Guide to Ella Fitzgerald Papers

    Guide to Ella Fitzgerald Papers

    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275

    Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275

    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
  • Ellingtonia a Publication of the Duke Ellington Society, Inc

    Ellingtonia a Publication of the Duke Ellington Society, Inc

    Ellingtonia A Publication Of The Duke Ellington Society, Inc. Volume XXIV, Number 3 March 2016 William McFadden, Editor Copyright © 2016 by The Duke Ellington Society, Inc., P.O. Box 29470, Washington, D.C. 20017, U.S.A. Web Site: depanorama.net/desociety E-mail: [email protected] This Saturday Night . ‘Hero of the Newport Jazz Festival’. Paul Gonsalves Our March meeting will May 19-23, 2016 New York City bring in the month just like the proverbial lion in Sponsored by The Duke Ellington Center a program selected by Art for the Arts (DECFA) Luby. It promises a Tentative Schedule Announced finely-tuned revisit to some of the greatest tenor Thursday, May 19, 2016 saxophone virtuosity by St. Peter’s Church, 619 Lexington Ave. Paul Gonsalves, other 12:30 - 1:45 Jazz on the Plaza—The Music of Duke than his immortal 16-bar solo on “Diminuendo and Ellington, East 53rd St. and Lexington Ave. at St. Peter’s Crescendo in Blue” at the Newport Jazz Festival in 1956. That’s a lot of territory, considering Paul’s quar- 3:00 - 5:30 “A Drum Is A Woman” - Screenings at The ter century with The Orchestra. In addition to his ex- Paley Center for Media, 25 West 52nd St. pertise on things Gonsalves, Art’s inspiration for this 5:30 - 7:00 Dinner break program comes from a memorable evening a decade ago where the same terrain was visited and expertly 7:15 - 8:00 Gala Opening Reception at St. Peter’s, hosted by the late Ted Shell. “The Jazz Church” - Greetings and welcome from Mercedes Art’s blues-and-ballads-filled listen to the man called Ellington, Michael Dinwiddie (DEFCA) and Ray Carman “Strolling Violins” will get going in our regular digs at (TDES, Inc.) Grace Lutheran Church, 4300—16th Street (at Varnum St.), NW, Washington, DC 20011 on: 8:00 - 9:00 The Duke Ellington Center Big Band - Frank Owens, Musical Director Saturday, 5 March 2016—7:00 PM.
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973

    Music Outside? the Making of the British Jazz Avant-Garde 1968-1973

    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
  • Cool Trombone Lover

    Cool Trombone Lover

    NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J.
  • Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media

    Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media

    Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects.
  • Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra

    Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra

    MUNI 20070315 DUKE ELLINGTON C D 1 1. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra. NY, November 29, 1926. 2. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra. NY, October 26, 1927. 3. Harlem River Quiver [Brown Berries] (Jimmy McHugh-Dorothy Fields-Danni Healy) Duke Ellington and his Orchestra. NY, December 19, 1927. 2:48 4. Tiger Rag [Part 1] (Nick LaRocca) 2:52 5. Tiger Rag [Part 2] 2:54 The Jungle Band. NY, January 8, 1929. 6. A Nite at the Cotton Club 8:21 Cotton Club Stomp (Duke Ellington-Johnny Hodges-Harry Carney) Misty Mornin’ (Duke Ellington-Arthur Whetsol) Goin’ to Town (D.Ellington-B.Miley) Interlude Freeze and Melt (Jimmy McHugh-Dorothy Fields) Duke Ellington and his Cotton Club Orchestra. NY, April 12, 1929. 7. Dreamy Blues [Mood Indigo ] (Albany Bigard-Duke Ellington-Irving Mills) 2:54 The Jungle Band. NY, October 17, 1930. 8. Creole Rhapsody (Duke Ellington) 8:29 Duke Ellington and his Orchestra. Camden, New Jersey, June 11, 1931. 9. It Don’t Mean a Thing [If It Ain’t Got That Swing] (D.Ellington-I.Mills) 3:12 Duke Ellington and his Famous Orchestra. NY, February 2, 1932. 10. Ellington Medley I 7:45 Mood Indigo (Barney Bigard-Duke Ellington-Irving Mills) Hot and Bothered (Duke Ellington) Creole Love Call (Duke Ellington) Duke Ellington and his Orchestra. NY, February 3, 1932. 11. Sophisticated Lady (Duke Ellington-Irving Mills-Mitchell Parish) 3:44 Duke Ellington and his Orchestra.
  • Jerusalem Quartet

    Jerusalem Quartet

    The 2019/20 Beethoven Festival Opening Weekend BOOKING DETAILS ENCLOSED JERUSALEM QUARTET BARTÓK EXPLORED THE JERUSALEM QUARTET INTERVIEW SIMON MAJARO MBE SPRING SPECIAL CELEBRATION EMANUEL AX TURNS 70 2019 FRIENDS OF OF FRIENDS INSERT 2019/20 HIGHLIGHTS Beethoven was born in Bonn in December 1770. Throughout the 2019/20 Season, we will celebrate the 250th anniversary of his birth with a festival encompassing almost all of his instrumental and chamber repertoire and, through our Learning department, the influence of his legacy. Given Beethoven’s hearing loss later in times and we are delighted to introduce her life, in the 2019/20 Season we will have to the Wigmore Hall audience in March. Your the opportunity to examine how we listen exceptional financial support enables us to to music individually either as performers, present debut concerts such as this. It also composers or audience members. Included allows us to celebrate significant milestones with this issue of The Score magazine are with established artists such as Emmanuel the details for the exciting opening weekend Ax, in special gala events. celebrations on the 14 and 15 September We are delighted to announce that Kikkas © Kaupo when we present ten concerts in two days, Wigmore Hall is to become the new home placing Beethoven in context through the for CAVATINA’s extraordinary activities ABOVE John Gilhooly works of his predecessors and successors, nationwide. For those of you who don’t and those in the 20th century, and even already know CAVATINA and the story of its In this edition, there is also a very today, who still felt his influence.
  • ELLINGTON '2000 - by Roger Boyes

    ELLINGTON '2000 - by Roger Boyes

    TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
  • John Cornelius Hodges “Johnny” “Rabbit”

    John Cornelius Hodges “Johnny” “Rabbit”

    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
  • Duke Ellington's Sophisticated Ladies

    Duke Ellington's Sophisticated Ladies

    study guide contents The Play Meet the “Duke” Cotton Club Harlem Renaissance Jazz Music The U Street Connection Musical Revue Dancing Brothers Additional Resources the play Duke Ellington’s Sophisticated Ladies is a musical revue set during America’s Big Band Era (1920-1945). Every song tells a story, and together they paint a colorful pic- ture of Duke Ellington’s life and career as a musician, composer and band leader. Duke Ellington’s Act I highlights the Duke’s early days on tour, while Sophisticated Act II offers a glimpse into his private life and his often Ladies troubled relationships with women. Now Playing at the Lincoln Theatre April 9 – May 30, 2010 Concept by Donald McKayle Based on the music of Duke Ellington Musical and dance arrangements by Lloyd Mayers Vocal arrangements by Malcolm Dodds and Lloyd Mayers Original music direction by Mercer Ellington Directed by Charles Randolph-Wright Choreographed by Maurice Hines meet the “Duke” Harlem Renaissance “His music sounds “Drop me off in Harlem — any place in Harlem. like America.” There’s someone waiting there who makes – Wynton Marsalis it seem like heaven up in Harlem.” dward Kennedy rom the mid-1920s until the early 1930s, the African-American community “Duke” Ellington was in Harlem enjoyed a surging period of cultural, creative and artistic growth. born in Washington, Spurred by an emerging African-American middle class and the freedom D.C. on April 29, after slavery, the Harlem Renaissance began as a literary movement. Authors 1899.E He began playing the Fsuch as Langston Hughes and Zora Neale Hurston expressed the spirit of African- piano at age 7, and by 15, Americans and shed light on the black experience.